6 mai 2019 – Journée d’études – Channel-Crossings / Traversées de la Manche

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Henry VIIIThe Embarkation of Henry VIII at Dover c. 1520-40
Oil on canvas | 168.9 x 346.7 cm (support, canvas/panel/str external), Hampton Court Palace, Wolsey Room 1, RCIN 405793. Royal Collection Trust / © Her Majesty Queen Elizabeth II 2019 (c)

« Channel-Crossings » / « Traversées de la Manche » Formes et objets des échanges poétiques de circonstance durant le ‘long XVIIe siècle’, France/Grande-Bretagne

6 mai 2019, 10h15-17h


Maison de la Recherche de l’Université Sorbonne Nouvelle / 
4 rue des Irlandais/ 75006 PARIS / Salle Athéna

Avec le soutien de l’IUF

Programme

10h15-10h45  Accueil

10h45 Présentation du projet IUF « l’Europe des objets : circulations matérielles, culturelles et poétiques ».

 11h00 Conférence de Nigel Smith (Princeton University) – ‘Transnational Poetry in the 17th Century: Consumption, Delight and Freedom’

11h45 questions

12h00 Autour de Théophile de Viau et l’Angleterre

12h00 Melaine Folliard (CIELAM, Université d’Aix-Marseille): La critique des lieux communs dans Romeo and Juliet et Les Amours tragiques de Pyrame et Thisbé : Viau lecteur de Shakespeare ?

12h25-12h50 Greg Miller (Emeritus, Millsaps College) : Viau and the ‘Marquis de Boquingant’

12h50 questions

13h00-14h30 Pause déjeuner

14h30-17h00 Table ronde et discussion – Pour une cartographie des circulations poétiques transmanches (France/Grande-Bretagne) durant le ‘long XVIIe siècle’/ Charting Cross-Channel Poetic Circulations  in the Long-Seventeenth Century (France/Great-Britain)

Avec la participation de : Peter Auger (University of Birmingham), Claire Boulard (Université Sorbonne Nouvelle), Line Cottegnies (Sorbonne Université), Clément Duyck (Université Catholique de Louvain), Melaine Folliard (CIELAM, Université d’Aix-Marseille), Greg Miller (Emeritus, Millsaps College), Anne-Marie Miller-Blaise (Université Sorbonne Nouvelle), Laetitia Sansonetti (Université Paris Nanterre), Nicolas Schapira (Université Paris Nanterre), Nigel Smith (Princeton University).

*

Dans un récent article pour Conversation, « Exit Britain…bonjour tristesse », Marc Porée rappelle ce que nous savons tous : que l’histoire de la relation contrariée de l’Angleterre au Continent ne date pas d’hier. Mais il le dit en poésie, faisant rimer le « Bateau ivre » rimbaldien des « péninsules démarrées » avec les circonstances d’un temps que l’on aurait pu croire révolu : « Le 7 janvier 1558, avec la perte, cette fois définitive après 211 ans d’occupation, de Calais, l’Angleterre est ‘devenue’ une île, selon le mot de Fernand Braudel », elle larguait les amarres qui la rattachaient au Continent. Depuis, il lui arrive parfois de dériver au loin des côtes européennes. Histoire contrariée, donc, que celle des rapports de l’Angleterre à ces plus proches voisins, de l’autre côté de la Manche, qui n’a de cesse d’être négociée et renégociée tout au long de ce que l’on pourrait appeler un « long XVIIe siècle » (s’étendant des Guerres de religion à la Guerre de sept ans), à la faveur de l’exil de la cour anglaise en France, de nombreux échanges politiques, diplomatiques, marchands…et poétiques. Car la poésie, comme voudrait le suggérer cette journée d’études, à une époque où il s’agit encore d’une pratique littéraire qui cherche volontiers à épouser les circonstances historiques collectives ou particulières, se fait lieu privilégié de médiation. Elle est même plus que cela : dans un article de 2017 intitulé « Cross-Channel Cavaliers », Nigel Smith suggérait qu’elle était la fabrique d’un éthos transnational ou cosmopolite partagé, bien que parfois conflictuel. L’instabilité politique de part et d’autre de la Manche, le mouvement de biens et de personnes au gré de trajectoires migratoires aux causes religieuses, politiques et marchandes occasionnent de riches échanges poétiques où se négocient autant de valeurs politiques et sociales, d’idéals de liberté. Si on a retracé nombre de ces échanges poétiques de circonstance, entre un Viau ou un Saint-Amant, du côté français, et un Sherburne et Carew de l’autre – bien qu’ils méritent eux-mêmes d’être davantage approfondis – on n’a cependant qu’assez peu étudié les nombreuses formes et supports matériels qu’empruntent ces circulations poétiques : traductions, échos, pastiches, consignés dans des correspondances personnelles, livres-cadeaux, manuels linguistiques, gazettes d’une presse naissante…Elles ne sont d’ailleurs pas seulement le fruit d’une élite aristocrate cosmopolite se prémunissant contre les bouleversements politiques en se réfugiant dans les cours et salons, mais peuvent aussi ressortir de voyages et migrations d’une classe bourgeoise et marchande aux entreprises transnationales. Les poèmes voyagent avec ces personnes et les objets, supports de commerces qui ne sont pas que marchands, pour dessiner les contours d’une communauté partagée présidant à l’accroissement des richesses, des idées de chacun et d’un imaginaire collectif. Cette journée d’études, qui rassemblera des spécialistes de poésie française et anglaise du « long XVIIe siècle » aura pour but de définir les zones de rencontre, de partage et de friction qui structurent la diffusion de ce « marché commun » poétique aux enjeux esthétiques, politiques et économiques, et d’imaginer les modalités d’une possible production collaborative.

« Channel-Crossings » – Forms and Objects of Transnational Occasional Verse during the “Long Seventeenth Century” France/Britain

In “Britain’s Exit, Sorrow’s Entrance » (Exit Britain…bonjour tristesse) a recent article in the online journal Conversation, Marc Porée reminds us that England’s conflicted relation to the Continent is longstanding. However, M. Porée puts the matter poetically, rhyming Britain with Rimbaud’s “drunken boat” (bateau ivre) and “loosened peninsulas” (péninsulesdémarrées), asking us to sail back in time to what we might consider a bygone era: “on the 7thof January 1558, England definitively lost control of Calais, thereby ‘becoming’ an island, according to the historian Fernand Braudel.” Ever since it became unmoored from the Continent, it has regularly drifted away for periods of time from the European coastline. Yet, despite this drift, and however conflicted its relation to its neighbours across the Channel, the connection endures. Over a period that could be referred to as “the long seventeenth-century” (beginning with the European wars of religion and ending with the Seven Years’ War), the ties between England and the Continent underwent multiple renegotiations, owing not only to the exile of the English court in France but also to numerous political, diplomatic, economic…and poetic exchanges. For indeed, as this study-day will suggest, poetry – which was still very much conceived of as written in response to specific occasions, to individual as well as collective historical moments – was a favored form of mediation. It was even more than that: as Nigel Smith suggests in his 2017 article “Cross-Channel Cavaliers”, poetic workmanship enabled those who practiced it to fashion a common, albeit at times discordant, cosmopolitan ethos. Political instability on either side of the Channel, and the circulation of goods and people for religious, political or commercial reasons along paths of migration, occasioned rich poetic exchanges negotiating social and political values, including notions of freedom. While quite a few of these poetic exchanges have been documented and deserve further development – one may think of Viau or Saint-Amant amongst the French, or Sherburne and Carew amongst the British – this flow of occasional verse across the Channel calls for further mapping. Too little attention has been devoted in particular to the poetic and material forms taken on by such verse in order to travel. Were they translations, echoes, pastiches? Circulated in letters, gift books, language manuals, or nascent gazettes and news sheets? The variety of social networks that distributed such verse also deserves further exploration. Though many of these poetic exchanges can be linked to aristocratic gift culture, they were not all carried out by an elite that sought thereby to shield itself from the political upheavals of the time. Verse was also finding its way across the Channel through bourgeois and merchant transnational ventures. Poems travelled with people and in the company of objects, fostering forms of trade that were not exclusively mercantile. Their trajectories shaped the contours of a shared community that presided over the flourishing of assets and ideas, and of a collective transnational imagination. This study-day will bring together specialists of British and French verse working on “the long seventeenth century,” having a double aim: (1) mapping the zones of meeting and sharing that gave form to the distribution of this common poetic “market” fraught with aesthetic, political, economic and philosophical implications and (2) imagining the form a future collaborative publication might take.

 

 

Publicités

Séminaire Epistémè, 8 avril 2019, Conférence-Concert, The Indian Queen

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La prochaine séance du Séminaire Epistémè aura lieu à la Maison de la Recherchede la Sorbonne Nouvelle, 4 rue des Irlandais, Paris 5e, le lundi 8 avril à 17h00. Il prendra cette fois la forme d’une conférence-concert.

Nous y entendrons Gisèle Venet (Professeur émérite, Sorbonne Nouvelle – Paris 3, fondatrice d’Epistémè)parler de : « The Indian Queen de Dryden et Howard: texte pour un opéra ou texte pour un siècle? »

Son intervention sera illustrée en musique par Chantal Schütz (voix) et Jean Louchet (clavecin)

La séance sera suivie d’un pot.

 

CFP Strange Habits / Strange Habitats: Clothes, climes and the environment in Shakespeare and his contemporaries

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CALL FOR PAPERS 

International Conference

“Strange Habits” / Strange Habitats: Clothes, climes, and the environment in Shakespeare and his contemporaries

Organized by Sophie Chiari (Université Clermont Auvergne) and Anne-Marie Miller-Blaise (Institut Universitaire de France, Université Paris-3 Sorbonne Nouvelle)

14-16 May 2020

Université Clermont Auvergne (UCA)

Confirmed speakers:inigo jones, a mady masquer, chatsworth house
Patricia Lennox (The Gallatin School, New York University)
Ulinka Rublak (University of Cambridge)
Maria Hayward (University of Southampton)
Dympna Callaghan (Syracuse University)
Sophie Jane Pitman (Aalto University)

Taking a cue from the current growth of ecocritism and of material approaches in Shakespeare studies as well as in global Renaissance studies, this conference seeks to cross and confront those two critical trends by looking at one same object — clothing. Clothing can be explored from a variety of perspectives and calls for cross-disciplinary dialogue between social history, art history, dramatic history, fashion history, literature, sociology, and anthropology. The sheer variety of terms that can be used to designate clothing speaks to the far-reaching implications of dress. The now archaic term “habit,” referring at once to a “garment” or “apparel” and, beyond that, to a person’s outward appearance, was of common usage in the early modern period and was the word Shakespeare favoured in reference to clothing in his plays. While it can designate the dress or attire of a function or profession, it also introduces the notions of characteristic behaviour, natural mode of growth, and habitation (or habitat). The conference will focus on early modern dress such as it is represented on stage and the ways in which dress mediates England’s relation to foreign places and “climes.”

While the relation between dress and gender, disguise and identity-building, and the importance of the numerous sumptuary laws in the shaping of social identity has been largely explored, much less attention has been devoted to the relation between dress and the ecological environments for which dress was devised. Whether worn by the poor, the middling sort, or the nobility, clothes need to be looked at not only in the relation to broad social, cultural, and material contexts, but also in relation to climactic or geographic environments. Because clothes protect the human body and serve as an interface between the body and the environment, dress can be considered as the most immediate locus for the establishment of any sort of ecology, in its etymological sense of a “discourse” or “science” of the oikos, that is of the home, or human habitat. From their production down to the way they are worn, clothes interweave natural materials and artifice, the human body and the social body, the weather conditions and the culture in which they are born and those to which they adapt. They come to materialize and epitomize identity in its various inclinations and inflections. Conversely, they participate in shaping the environments or the landscapes for whose diversity they stand metonymically.

In staging climes through costumes, Shakespeare and his contemporaries invite us to decentre our perspective by, first, looking beyond clothes as an object and clothes as a means of fashioning personal identity and personae (or impersonations) on stage, toward clothes as a privileged space of “eco-logy,” and second, by adopting an anthropological gaze on early modern English dress and culture. It is through a confrontation with foreign dress, that is with the materials of difference, that English identity can be better gauged. Ultimately, this conference aims at exploring how dramatic text and textile enrich each other in the early modern period, and how dress and costume are essential in England’s attempt to define its own cultural identity within a new global space inclusive of many different climes reflected on stage.

We are seeking proposals that inquire into the complex ecology, economy and anthropology of dress, drawing notably on the material history of concrete elements such as pigments, dies, and raw materials (sometimes imported from distant regions and climes) used to make clothing and costumes. We also invite papers with more literary approaches that look at the ways in which dress on stage becomes a means to negotiate the self or same in relation to the other or embodies contemporary understandings of climes and the environment. Proposals may focus on a specific costume or a specific dramatic corpus by Shakespeare or one of his contemporaries. Comparative approaches, drawing on European and global materials and practices, are also encouraged.

The conference will include outreach activities, such as workshops and round-tables open to the general public. We welcome proposals in English from established scholars, doctoral students, curators and other professionals working on or with early modern dress and more contemporary costumes representing that period.

300-word proposals, along with a brief CV (1 page maximum), should be sent by May 15, 2019 to the conference organizers:

Sophie Chiari: sophie.chiari@orange.fr
and
Anne-Marie Miller-Blaise: miller-blaise.am@wanadoo.fr

Advisory board:
Anne-Valérie Dulac (Sorbonne Université)
Russell Jackson (University of Birmingham)
Sophie Lemercier-Goddard (Ecole Normale Supérieure de Lyon)
Robert Lublin (University of Massachusetts Boston)
Chantal Schütz (Ecole Polytechnique)

Séminaire Epistémè/PEMS 16 novembre 2018: Nicholas Hilliard en 2019

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Nicholas_Hilliard_021

Vendredi 16 novembre 15h30-17h30, Réunion de rentrée, Institut du Monde Anglophone, salle 15. 17h30-19h30, Séminaire Epistémè / PEMS. Avec Anne-Valérie Dulac (Sorbonne Université) et Céline Cachaud (Diplômée de l’Ecole du Louvre et de l’EPHE) : ‘Nicholas Hilliard en 2019. Autour du numéro 35 d’Etudes Epistémè (printemps 2019)’. Institut du Monde Anglophone, salle 16.

Colloque Nouvelles Perspectives sur la Duchesse d’Amalfi, John Webster, 12-13 oct 2018

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Photo_Duchess_Of_Malfi edit Gisele

Photo: Lidia Crisafulli

Epistémè (EA PRISMES) organise, en collaboration avec les universités Paris-Diderot et Paris Sorbonne, un colloque sur l’oeuvre de Webster au programme de l’agrégation, The Duchess of Malfi le 12 et 13 octobre 2018. Lieux: 12 octobre, à partir de 14h, Amphi 6C, Halles aux farines, Université Paris Diderot; 13 octobre, à partir de 9h, Amphi Guizot, Université Paris Sorbonne. Le colloque est ouvert à tous, sans inscription. Se présenter avec une pièce d’identité. Le programme: New Perspectives on the Duchess of Malfi programme

Journée d’Etudes Objets Domestiques, entre privé et public, 11 sept 2018

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Organisation : Antoinette Gimaret (université de Limoges) Anne-Marie Miller-Blaise (université Paris III Sorbonne Nouvelle), Nancy Oddo (université Paris III Sorbonne Nouvelle)

Date : mardi 11 septembre 2018, Maison de la Recherche de Paris 3, 4 rue des Irlandais, 75005 Paris

Programme:

9h -9h15 : Accueil- introduction

Session 1 : La domus humaniste 9h15-9h35

Cristina Panzera (université Bordeaux Montaigne) « Objets domestiques et représentation de l’espace privé dans les lettres de l’Arétin »

9h35-9h55 : Laurence Pradelle (université de Limoges) « Les objets d’Isabella d’Este »

9h55-10h15 : Myriam Marrache (université de Bretagne Occidentale) « Le cabinet de curiosités, un espace emboité »

10h15-10h35 : Sabine du Crest (université Bordeaux Montaigne) : « L’autre près de soi / tout autre et si près : objets exotiques dans les intérieurs »

Discussion

Pause 11h-11h15

Session 2 : Les objets domestiques et l’écriture de l’Histoire

11h15-11h35: Mathilde Bernard (université Paris-Nanterre) « L’objet du crime : objets domestiques et récits du massacre de la saint Barthélemy »

11h35-11h55: Alicia Viaud (université de Strasbourg) « Le coffre et les pantoufles : intrusion du public et surgissement du privé dans les Mémoires de la fin du XVIe s » Discussion

Pause-déjeuner (12h15-14h)

Session 3 : Modes et travaux

14h-14h20: Thibault Catel (université de Limoges) : « La ménagère apprivoisée : objets, domesticité et domestication dans les traités des femmes au XVIe siècle »

14h20-14h40: Astrid Castre (École des Chartes) : « Les pratiques textiles domestiques en France au XVIe siècle »

14h40-15h : Julie Rohou (Musée national de la Renaissance d’Ecouen) : « Les bijoux à la Renaissance, un apparat de l’intime »

Discussion

Pause 15h30-16h

16h- 18h30 Table ronde avec la participation de Muriel Barbier (Musée national de la Renaissance d’Ecouen), Marianne Cojannot (université de Paris-Nanterre), Frédéric Cousinié (université de Normandie), Florent Gabaude (université de Limoges), Blanche Llaurens (université de Poitiers), Marjorie Meiss (université de Lille)

Les Ateliers PEARL – Paléographie & « Letterlocking » 11 juin 2018

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Les Ateliers PEARL

11 juin 2018, 14h-18h, Institut du Monde Anglophone, salle 16.

Les deux ateliers pratiques organisés par PEARL le 11 juin prochain seront centrés sur la matérialité de l’épistolaire et des correspondances de la période moderne (XVIe-XVIIIe). Etudiants et enseignants-chercheurs seront initiés à la paléographie de la période et aux différentes techniques pratiquées pour garantir à la fois la confidentialité et l’authenticité des lettres.

Programme

14h-15h45 : Atelier paléographie XVIe-XVIIIe siècle, avec Guillaume Coatalen

16h-18h00 : Atelier « Letterlocking », avec Jana Dambrogio et Daniel Starza Smith

Le nombre de places étant limité, il est obligatoire de s’inscrire : miller-blaise.am@wanadoo.fr

Guillaume Coatalen est maître de conférences en littérature anglaise de la Renaissance à l’université de Cergy et membre de l’EA PRISMES. Son travail porte notamment sur les transferts poétiques et rhétoriques dans l’Europe de la première modernité, ainsi que sur la correspondance. Il a co-édité un volume sur la correspondance étrangère de la reine Elisabeth Ire d’Angleterre (Queen Elizabeth I’s Foreign Correspondence: Letters, Rhetoric and Politics, Palgrave Macmillan, 2014) et prépare en ce moment une édition critique de deux traités de rhétorique élisabéthains. Il a étudié la paléographie à Trinity College, où il a été formé par Jeremy Maule. https://sites.google.com/site/gcoatalen/

 

Jana Dambrogio is Thomas F. Peterson (1957) Conservator at MIT Libraries. She has held positions at the National Archives, United Nations, and Vatican Secret Archives, is a recipient of a Booth Family Rome Prize Fellowship in historic preservation and conservation, and was recently elected a member of the Grolier Club. She coined the term letterlocking in 2009 to describe the systems of deliberate folds, slits, locks, and seals that build security, privacy, and authentication enhancements into letters. Dambrogio’s specialization is developing tools and treatment techniques to conserve material culture and the secrets they contain.
Daniel Starza Smith is a lecturer in early modern English Literature at King’s College London. He is author of John Donne and the Conway Papers (OUP, 2014), and co-editor of Manuscript Miscellanies in Early Modern England (Ashgate, 2014). He most recently published on a newly discovered John Donne manuscript at Westminster Abbey (https://doi.org/10.1093/res/hgx135).

Dambrogio and Smith are co-founders of the Unlocking History research group, co-editors of the Dictionary of Letterlocking and letterlocking.org, and both work on the international project Signed, Sealed, & Undelivered (http://brienne.org/).

Workshop participants will unlock models of various historical locked letters, then learn to make their own. We will discuss these letters in terms of their security and aesthetic features, and consider them alongside images of real archival originals by historic figures such as John Donne and Elizabeth I.

 

PEMS – 4 mai – « Strolling Players / Mobile Texts », Karen Newman (Brown University)

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avec le  Paris Early Modern Seminar

4 May 2018, 5.30 pm- 7.30 pm

Bibliothèque interuniversitaire de la Sorbonne (délocalisé à la Maison de la Recherche de Paris IV, Serpente)

Professor Karen Newman (Brown University) will be giving a talk entitled:

« Strolling Players/Mobile Texts »

Abtract:

Travelling players scoured Europe in the late sixteenth and early seventeenth centuries. Accounts of the visits of the English actors show that their performances “attracted great crowds” of young and old, men and women, city fathers and “educated professionals.” Henslowe, entrepreneur and purveyor of costumes and stage properties to the London theatre, apparently numbered the continental troupes among his clients. The traveling players employed not only English actors, but foreign comedians as well, and thus fostered a theatre that was multi-lingual and what we today term transnational. Texts too were mobile. Long before “global Shakespeare,” before, in fact, the First Folio saw print, booksellers were peddling their intellectual property in Shakespeare internationally. Early advertisements of the First Folio offered for sale to a European market at the Frankfort Book Fair, evidence of the visits of English players to the Continent, and the presence of Shakespeare in various libraries suggest that the continental presence of Shakespeare and early modern English drama has been under-estimated and undervalued.

Bio:

Karen Newman is Owen Walker ’33 Professor of Humanities and Professor of Comparative Literature and English at Brown University. She has written widely on early modern English and continental letters and culture and on Shakespeare and Renaissance drama. Books include Fashioning Femininity and English Renaissance Drama; Fetal Positions: Individualism, Science, Visuality; Cultural Capitals: Early Modern London and Paris and Essaying Shakespeare. Recent collections include Early Modern Cultures of Translation, co-edited with Jane Tylus, and This Distracted Globe: Worldmaking in Early Modern Literature, edited with Jonathan Goldberg and Marcie Frank. She is currently working on early modern translation and on the reception of Shakespeare in Europe.

POEM – 6 avril – Traduire les Sonnets de Shakespeare d’âge en âge – avec J. M. Déprats

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L’atelier POEM et le séminaire Epistémè ont le plaisir de vous convier pour une séance autour des Sonnets de Shakespeare et de leurs traductions en langue française, intitulée « Traduire les Sonnets de Shakespeare à travers les âges ».
Nous y entendrons des lectures de Jean-Michel Déprâts, traducteur de Shakespeare pour la nouvelle édition de la Pléiade.
La séance aura lieu à l’Institut du Monde Anglophone, dans le Grand Amphi, à partir de 17h30, vendredi 6 avril.

Séminaire 3 avril 2018 – Rory Loughnane « Shakespeare After Shakespeare »

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Séminaire Epistémè du mardi 3 avril à 17h dans le petit amphi (Institut du Monde Anglophone).

Conférence de Rory Loughnane (Université du Kent)  « Shakespeare After Shakespeare »
La conférence sera précédée d’une réunion autour du projet « Ecritures MatériELLES », à 15h30 en salle 16.

‘Shakespeare After Shakespeare’

By the time of Shakespeare’s death in 1616, his old playing company had long since moved on. Nature abhors a vacuum, and following Shakespeare’s retirement in early 1614 others had emerged to take his place. This paper considers some of the writing and professional activities of Thomas Middleton and John Fletcher in the period between Shakespeare’s retirement and the 1623 publication of his Comedies, Histories & Tragedies. It then discusses the evidence for Middleton’s adaptation of several of Shakespeare’s plays during this period, and considers how Middleton’s interactions with these texts might impact upon how we think about the ‘Shakespeare’ canon. In doing so, the paper considers the current state of play in Shakespearean authorship studies.

Rory Loughnane is Lecturer in Early Modern Studies at the University of Kent. An Associate Editor of The New Oxford Shakespeare (2016-), he edited over ten plays for the edition and co-authored with Gary Taylor a book-length study about ‘The Canon and Chronology of Shakespeare’s Works’ (Oxford UP, 2017). He is the co-editor of five essay collections, including Late Shakespeare, 1608-1613 (Cambridge UP, 2012) and Celtic Shakespeare (Ashgate, 2013), and is the co-editor of the anthology, The Memory Arts in Renaissance England (Cambridge UP, 2016). He is currently editing The Complete Works of Cyril Tourneur for Revels Drama (Manchester UP), completing a monograph about the period in theatre history following Shakespeare’s retirement, and co-edits with Laurie Maguire the book series Studies in Early Modern Authorship for Routledge.

Atelier Epistémè à la RSA, 22 mars 2018

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Epistémè est présent au congrès de la Renaissance Society of America, qui se tient cette année à la Nouvelle-Orléans, pour un atelier autour des ballades imprimées ou broadside ballads

Titre de l’atelier: Recovering Lost Voices: The Broadside Ballad from Street to Court, on Page and Stage

La session sera présidé par Simon Smith, Leverhulme Early Career Fellow, School of English, Drama, and American & Canadian Studies, University of Birmingham

Communication 1 – Angela MCShANE, Research Development Manager, Wellcome Institute, London, « From stage to page, and back again: Performing religious disharmony, with words, ink and music, in Restoration England »

Résumé en anglais: This paper illuminates how, in the fraught and divided religious and political landscape of seventeenth-century England, political balladeers sometimes used the vehicle of song to create and debate the idea of harmony. The paper emphasises contemporary perceptions of the broadside ballad as an object, and shows how the material, graphic and literary elements of printed ballads were sometimes appropriated by satirists, with the help of the printing trade, producing a parodic cast of performing sheets that battled over religious harmony in the street, the coffee-house, and the study.

Communication 2 – Anne-Marie MILLER-BLAISE, MCF-HDR, Université Sorbonne Nouvelle – Paris 3, IUF, «  ‘Captaine Cut-Purse’ Redeemed: Broadside Ballads and Poems of Salvation »

Résumé en anglais : Recent scholarship on broadside ballads has led to reassess the pervasiveness of popular music and cheap print in the early modern period. In this paper, I wish to show that broadside ballads were at once consonant with a biblical poetics based on the literary form of the parable, itself rooted in popular culture, and in which cut-purses, prisoners and robbers furnished the poet with prime protagonists to allegorize the divine economy of redemption. Drawing from poems by John Donne and George Herbert belonging to the canon, as well as a corpus of contemporary broadside ballads, I shall argue that ballads actually served as quiet yet powerful models for shaping more intellectual and meditative poems of redemption. In “The Bag,” George Herbert appropriates the material and musical qualities of the broadside ballad to conceive of a new kind of printed poetry that might be as effeciently distributed, circulated and remembered.

Communication 3; Emma WHIPDAY, Leverhulme Early Career Research Fellow, University College London « Title: Lost plays, lost voices: staging and singing early modern ‘true crime’ »

 Résumé en anglais: The Jacobean play ‘Keep the Widow Waking’ (1624) stages a recent ‘true crime’: the forced marriage of an elderly widow, while under the influence of drink and drugs, to an opportunist young suitor. The text of the play is lost, but the records of the resulting Star Chamber court case give us the text and tune of an accompanying ballad. This paper explores the representation of true crime and domestic disruption in broadside ballads and on the stage, investigating: the ‘Keep the Widow Waking’ play and ballad; the London murder in Two Lamentable Tragedies (1601) and the lost ballads on the same topic; and the lost play ‘Page of Plymouth’ (1599) and the surviving ‘Page’ ballads. In so doing, it traces the relationship between the material and the immaterial in the study of early modern plays and ballads – both surviving and lost.

Communication 4: Chantal SCHUTZ, Professeur chargé de cours, Ecole Polytechnique et EA PRISMES, « Court Airs, Lute-songs, and Broadside Ballads: Intersections and Contamination »

Résumé en anglais: When Edward Filmer published his French court-aires, vvith their ditties Englished, in 1629, he was keen to underline in his preface that these were court airs that had been born in the same rarefied atmosphere as the queen to whom they were dedicated. Likewise, when Dowland published his First Book he had insisted on the aristocratic origin of his compositions. Yet both of these books include songs that share many features with ballads, with their strophic structure and simple tunes. And the very fact that Filmer was writing contrafacta in English to French songs make them fit into the pattern of Ballads, which were always “sung to the tune of” other songs. Using the format of the ballad seems to make it possible to tread unusual ground, be it with the political implications of Dowland’s song to Fulke Greville’s “Faction that ever dwells” or the “risqué” subtext of Guedron’s “Un jour l’amoureuse Silvie.”

SEM 8 mars 2018 – Chantal Schütz, « ‘Their ditties Englished’: approches du recueil d’airs de cour en anglais d’Edward Filmer (1629) »

Mis en avant

Nous avons le plaisir de vous convier au prochain séminaire d’Epistémè – PEARL, qui aura lieu le jeudi 8 mars, à 17h30 en salle 12 à l’Institut du Monde Anglophone, 5, rue de l’Ecole de Médecine, Paris 6e.
 
Nous y entendrons Chantal SCHÜTZ (Professeure chargée de cours à l’Ecole Polytechnique, membre de l’EA PRISMES) parler de « ‘Their ditties Englished’ :   approches du recueil d’airs de cour en anglais d’Edward Filmer (1629) »
 
Résumé

En 1629, Edward Filmer, fait paraître un recueil d’airs de cour français traduits en anglais, chez William Stansby, éditeur  du premier In-Folio des oeuvres de Ben Jonson en 1616. Dédié à la reine Henriette-Marie, le recueil rassemble des airs datant des deux premières décennies du 17ème siècle, principalement de Pierre Guédron, le plus célèbre et prolifique compositeur français d’airs de cour. Accompagné d’un poème de Jonson célébrant l’union de la Rose et du Lys, le recueil se veut à la fois un moyen d’apprendre mieux l’anglais à la reine et de mieux acclimater le genre de l’air de cour en Angleterre. Si Filmer n’obtint pas d’avancement en récompense, Jonson quant à lui perdra la faveur royale deux ans plus tard. Préparé avec grand soin et présenté dans la disposition habituelle en Angleterre, le recueil ne semble pas avoir été suivi d’imitations, sans doute parce que les pièces qu’il rassemble étaient déjà passées de mode aussi bien en France qu’en Angleterre. Il reste néanmoins d’un grand intérêt de par la préface du traducteur, qui souligne les difficultés particulières du passage du français  à l’anglais dans le contexte musical. Les traductions révèlent un soin particulier envers la prosodie, et l’analyse révèle des différences culturelles frappantes. C’est à cette conversation entre arts français et anglais que sera consacrée ce séminaire.

SEM 24 Novembre 2017- Michael Dobson – Canonicity and the Economy of Touring in Coventry and Prescot

Mis en avant

Vendredi 24 novembre, de 17 h 30 à 19 h 30 dans la salle 33 de l’Institut du Monde Anglophone (5 rue de l’école de médecine), en partenariat avec le Paris Early Modern Seminar (PEMS)

Michael Dobson (Shakespeare Institute/ University of Birmingham) sur “Canonicity and the economy of touring in Coventry and Prescot” (discutantes: Anne-Marie Costantini-Cornède, Chantal Schütz, Aurélie Lentsch-Griffin).

Abstract: In a divided England still flirting with the idea of regional devolution, two major arts projects have recently revived interest in the question of whether the flowering of Elizabethan drama should be considered as a metropolitan or as a nationwide phenomenon. In Coventry, only 20 miles from Stratford-upon-Avon, campaigners to have the city designated as UK City of Culture 2021 have pointed to its Renaissance past as a venue for mystery plays and as a destination for travelling players, seeking to invoke Shakespeare in both connections. Meanwhile in Prescot on Merseyside campaigners are raising money to establish a replica early modern theatre to be called ‘Shakespeare North,’ on the basis of Elizabethan and Jacobean documents referring to a ‘play house’ in a town which is situated very near Knowsley Hall, one home of the known theatrical patron Lord Strange. Michael Dobson has been called upon to examine the original evidence in both cases; currently working on a monograph about the role of the Shakespeare canon in the development of national theatres worldwide, he here considers the cases of Coventry and of Prescot and the light they do and don’t shed on the question of the geographical reach and national bearings of Shakespearean drama.

About Michael Dobson: Michael Dobson is Director of The Shakespeare Institute in Stratford-upon-Avon and Professor of Shakespeare Studies at the University of Birmingham. He has previously held posts at Oxford, Harvard, the University of Illinois and the University of London, and visiting appointments and fellowships at UCLA, Peking University, and the University of Lund. His publications include The Making of the National Poet (1992), England’s Elizabeth (with Nicola Watson, 2002), The Oxford Companion to Shakespeare (with Stanley Wells and others, 2001, 2008, 2015), Performing Shakespeare’s Tragedies Today (2006), and Shakespeare and Amateur Performance (2011).

Designing the Botanical Landscape of Empire

Mis en avant

Jeudi 12 octobre, 17h30 – 19h30, en partenariat avec le Séminaire franco-britannique d’histoire et le LARCA (Université Paris Diderot)

LIEU: Maison de la Recherche, 28 rue Serpente, 75006, salle D421

 Zara Anishanslin, University of Delaware, donnera une conférence sur:  « Designing the Botanical Landscape of Empire: Anna Maria Garthwaite (1688-1763), Silk Designer » 

 

Résumé :

« Enigmatic Anna Maria Garthwaite (1688-1763) was one of early modern Britain’s few women silk designers. She also was one of its most prolific. A clergyman’s daughter with family connections to the Royal Society of London and Chelsea Physic Garden, she had intimate ties to global natural history networks that found aesthetic expression in her design work. Garthwaite used her designs to create new hybrid English landscapes that blended native flora with exotic imported botanicals, including plants from Africa, North America, and the Caribbean. Her popular designs both mirrored the larger cultural fascination with things botanical and helped foster the craze for wearing botanical landscapes in silk around the British Empire. Objects that embodied important intersections between fashion and science, her textile designs carried the same eighteenth-century fascination with flowers and botanicals eagerly embraced by men in global natural history networks. This paper looks at women who made and wore silk on both sides of the Atlantic to explore how Garthwaite helped design the botanical landscape of empire. »

Zara Anishanslin specializes in Early Atlantic World History, with a focus on eighteenth-century material culture. Since 2016, she has been Assistant Professor of History and Art History at the University of Delaware where she is working on a new research project on the American Revolution. Anishanslin holds a PhD in the History of American Civilization from the University of Delaware, and held postdoctoral fellowships at Johns Hopkins University and the New York Historical Society. Her book Portrait of a Woman in Silk: Hidden Histories of the British Atlantic World (Yale University Press, 2016) examines the worlds of four identifiable people who produced, wore, and represented silk: a London weaver, one of early modern Britain’s few women silk designers, a Philadelphia merchant’s wife, and a New England painter.

Cette séance est financée par le LARCA (Paris Diderot) et l’IUF (Projet « L’Europe des objets », Anne-Marie Miller-Blaise)

Contact : Sandrine Parageau (sparageau@parisnanterre.fr)